watchin still-livin roots be consumed by the flame

He’s her best friend, and she doesn’t even know it. They’re so close, that in the book, people think they’re sleeping together, and poor Grace is so confused because he thought that was his platonic work wife, wdym people think we’re sleeping together, that’s my person that I crack jokes with and then she glares at me because they’re not funny.

She’s softer with him than anybody else and is only ever vulnerable around him. We see in the movie, he’s the only one who ever gets her to smile, and sometimes even laugh, and then she serenades all of them, but mainly him, and he stares at her with those big, shiny eyes so lovingly, and she points at him when she sings, “everything’s gonna be alright”, and then she gives him those eyes, so loving.

And then she’s trying to stop herself from crying when she’s sending him away because, against her will, he’s become her person, and somewhere along the way, she’s become his, and they will have forever ended this relationship on bad terms, and nothing can fix that.

It’s a platonic tragedy. It’s a platonic love story. This is something we don’t get often, or, like, ever, and it’s deep and it’s tragic and it’s sad.

But even after, Eva’s still taking care of him. Packing clothes she knew would bring him comfort. Programming the ship to know how he likes his coffee. And Grace is still watching out for her, speaking to her directly in his video logs, with that same lopsided smile he used to throw her way.

He uses Rocky’s sign for goodbye, and she uses it back, and how did this book and movie give us such a deep platonic friendship because, guys, this NEVER HAPPENS.

Ryland Grace + outfits [part 1/?]

and EVEN WHEN things were more muted/neutral, the neutrality was OFFSET by ACCENT COLORS and HIGH CONTRAST between the wood tones and everything ELSE

ALSO AMERICAN COLONIAL INTERIORS POPPED OFF, Y'ALL (IN TERMS OF COLOR/COZINESS)

PEOPLE USED WHITEWASH AND COLORFUL TRIM OR EVEN JUST COLORFUL FURNITURE IF THEY COULD AFFORD TO DO SO

AND DON'T GET ME STARTED ON FRENCH AND BRITISH AND AMERICAN WALLPAPERS

"ELIZABETH" YOU CRY, "WHY ARE YOU BEING SO EXTRA THIS MORNING?! IT'S MONDAY"

Because, my friend, my war on GREIGE will NEVER end.

Historic interiors were filled with LIFE and LIGHT and COLOR. ALWAYS HAVE BEEN.

Part of the reason we don't see a lot of textile art is because, frankly, textiles tend to degrade over time - especially ones that had utility! And yes, pigments and weaving and dying all boosted the expense of things, when we were finally reliably block-printing fabrics and broad reams of paper, it was no longer just the wealthy who could afford pretty patterns!

In the Americas, a far wider variety of pigments also became available because of the abundance of... well, a shitton of flora and minerals, some of which weren't as common in Europe.

WHY THE HIGHLIGHTER COLORS? you ask.

CANDLES.

Those colors reflect candlelight and natural sunlight REALLY WELL.

Humans LOVE bright colors, it's NOT just a thing for kids. We live in a brilliant, vibrant, multifaceted world. We ALWAYS have.

(If ever you have the opportunity to visit the Stencil House at the Shelburne Museum in Vermont (pictured above at 3, 4, and 5), I highly recommend.)

And that's before you get into American painted murals: